MAGNET contributing writer Jud Cost is sharing some of the wealth of classic films he’s been lucky enough to see over the past 40 years. Trolling the backwaters of cinema, he has worked up a list of more than 500 titles—from the silent era through the ’90s—that you may have missed. A new selection, all currently available on DVD, appears every week.
American Graffiti (1973, 110 minutes)
Teenage life in the pre-Beatles era is accurately recreated in what must have been a trip for director (and baby boomer) George Lucas, who grew up in the scorching central-valley town of Modesto, Calif. Originally titled Another Quiet Night In Modesto, American Graffiti was shot 120 miles northwest, in Petaluma. From cruising the main drag on weekend nights to ordering burgers in your car at a circular drive-in, served by waitresses on roller skates, that’s how it really was in the Golden State.
The focus is on class of ’62 high-school graduates Curt Henderson (Richard Dreyfuss) and Steve Bolander (Ron Howard), the night before they’re scheduled to fly off to an East Coast college. But first Steve, wearing a blue buttoned-down short-sleeve shirt, has to run an idea by his girlfriend Laurie (Cindy Williams), bundled up in his class sweater, as they’re waiting for their food at Mel’s Drive-In, sitting in her ’58 “lemon-sucker” Edsel.
Inhaling a few fries for courage as “16 Candles” plays in the background, he finally says, “Since we do care for each other so much, we should consider ourselves adults and agree that, while I’m away, seeing other people can’t possibly hurt.” She sits in stunned silence, then says, “You mean dating other people?” He replies quickly, “I think it would strengthen our relationship. Then we’d know for sure we’re really in love—not that there’s any doubt.” She removes his class ring, worn as a necklace and says, “I think you’re right. We’re not kids anymore.” “I didn’t ask for that back,” he protests. “I just think it’s juvenile,” she says. “I understand and I’m not upset. I can’t expect you to be a monk while you’re away.”
Steve tracks down Terry “the Toad” to check another item off his list. “I’m gonna let you take care of my car for me while I’m away,” he tells Toad (Charles Martin Smith), in horn-rimmed glasses and an outdated pink & black pop-over shirt. “Here’s the key. Hey, are you crying?” asks Steve. “I can’t believe it,” marvels Toad, staring at the key to the ’58 Chevy. “I’ll love and protect this car until death do us part. This is a super-fine machine!”
“Want to go bombing around town in my car?” Toad asks Curt, wearing an untucked short-sleeve Madras shirt. “I’d probably spoil your luck,” says Curt. “Besides, I’m going to the hop with Steve and Laurie.” John Milner (Paul LeMat), owner of the fastest machine in town, a five-window deuce coupe, explodes: “You’re goin’ to the freshman hop?! Come on, man, that’s for kids! You just got your ass outta there!” “Why don’t you come with us?” asks Curt. “Bullshit, man! I ain’t goin’ off to some goddam fancy college!” bellows Milner. “I’m stayin’ right here—havin’ fun!!”
